The facing curve is the shaped arc from the mouthpiece tip to the table that controls how the reed vibrates. Shorter facings usually give faster response and a brighter tone, while longer facings offer more control and flexibility, especially in the low register. Medium facings balance response, tone color, and dynamic range for most players.

What is the Clarinet Mouthpiece Facing Curve?

The clarinet mouthpiece facing curve is the precise arc where the reed gradually lifts away from the mouthpiece table, starting at the tip and ending where the reed first lies flat. This curve controls how easily the reed vibrates, how much air you need, and how the mouthpiece responds across all registers and dynamics.

Every facing curve has two main dimensions: length and shape. Length describes how far the reed tip remains free to vibrate before sealing to the table. Shape describes how quickly that opening grows along the rails. Together they influence articulation, tone color, projection, and pitch stability.

Clarinetists often talk about facing curves in broad categories such as short, medium, or long, but there is far more detail hidden in the exact radius and profile. Two mouthpieces can share the same facing length yet feel totally different because the curve profile and tip opening are not identical.

Understanding the facing curve helps you choose mouthpieces more intelligently, match reeds more accurately, and diagnose response problems that might otherwise be blamed on embouchure or instrument setup alone. It is one of the most powerful, yet often misunderstood, variables in clarinet tone design.

Anatomy: Tip, Table, Facing Length and Radius (how to measure)

To understand a clarinet mouthpiece facing curve, start with its anatomy. The tip is the very front edge where the reed and mouthpiece nearly meet. The table is the flat surface on the underside of the mouthpiece where the reed rests when clamped by the ligature. Rails are the thin edges that run from tip to table on each side.

The facing length is measured from the tip to the point along the rails where the reed first makes full, flat contact with the table. This point is called the facing break. The curve between tip and break defines how the reed lifts away from the table as you move toward the tip, creating the vibrating opening.

The radius or curve profile describes how that opening grows. Some facings approximate a simple circular arc, while others use compound curves that change radius along the length. These subtle differences affect how the reed responds to soft dynamics, loud dynamics, and fast articulation.

To measure facing length accurately, technicians use a facing gauge or glass plate with feeler gauges. The reed is centered and lightly clamped, then thin shims or feelers are slid under the reed from the table side toward the tip until the first consistent contact point is found. The distance from this point to the tip is recorded in millimeters.

To sketch the curve profile, some workshops use dial indicators or optical comparators to measure reed opening at fixed distances from the tip, such as every 2 mm. Plotting these measurements reveals whether the curve is more gradual, more aggressive, or includes flat spots that may affect response.

For players without specialized tools, a simple visual check against a backlit glass plate can reveal obvious irregularities. If you see light leaks in the middle of the facing while the tip and break appear sealed, the curve may be uneven and worth professional inspection.

Facing Curve Types and Their Musical Effects (Short / Medium / Long / Variable)

Clarinet mouthpiece facings are usually grouped into short, medium, and long categories, with some makers offering variable or progressive curves. Each type has distinct musical effects on response, tone, and flexibility, especially when combined with different tip openings and reed strengths.

Short facings typically measure around 15.0 to 16.5 mm. They tend to feel more resistant with the same reed, but offer quick response and crisp articulation. Many lead players and doublers prefer short facings for bright projection and fast technical passages at moderate dynamics.

Medium facings often fall between 16.5 and 18.0 mm. They aim for a balance of response, tone color, and dynamic range. Many standard student and professional mouthpieces use medium facings because they work well with a wide range of reeds and embouchures, making them a safe, versatile choice.

Long facings usually measure around 18.0 to 19.5 mm or more. They allow the reed to vibrate over a longer arc, which can provide greater flexibility in the low register and more nuanced control at soft dynamics. Long facings often feel more free-blowing with the same tip opening, especially for players with strong air support.

Variable or progressive facings use compound curves that change radius along the length. For example, a curve might be slightly flatter near the tip for stability, then more aggressive toward the middle for flexibility, then flatter again near the break. These designs try to optimize different parts of the register within a single facing.

Marketing terms like “jazz”, “orchestral”, or “soloist” often hide real differences in facing length and curve shape. Two mouthpieces labeled “medium” may have different lengths and profiles, so players should rely on measured data and playing tests rather than labels alone when comparing facings.

How Facing Affects Registers: Pitch Stability, Tone, and Projection

The facing curve strongly influences how each register of the clarinet responds. In the chalumeau register, a longer or more flexible facing can help low notes speak smoothly and quietly, while a very short or flat facing may make them resistant or prone to cracking if the reed is not perfectly matched.

In the clarion register, the facing curve affects pitch stability and tone focus. Shorter facings with moderate tip openings often yield a centered, compact sound that projects clearly in ensemble settings. Longer facings can produce a broader, more covered tone that some orchestral players favor for blending.

In the altissimo register, the combination of facing curve and tip opening becomes critical. Too long a facing with a very open tip can make high notes unstable or sharp under pressure. Too short a facing with a closed tip may feel locked and difficult to slur smoothly into the highest notes.

Projection is closely tied to how efficiently the reed transfers energy to the air column. A well-designed facing curve allows the reed to vibrate freely without excessive leak or collapse. If the curve is too aggressive, the reed may shut down at loud dynamics. If too flat, the sound can feel dull and underpowered.

Dynamic control also depends on the curve. Long, well-balanced facings often allow greater shading at soft dynamics, especially in the low register. Shorter facings can make pianissimo more challenging but reward the player with clear attacks and stability at forte and above, particularly in the clarion.

Intonation tendencies can sometimes be traced to facing issues. For example, a facing that is too short for a player's embouchure and reed choice may cause the throat tones to ride high in pitch, while a very long facing combined with soft reeds might sag in the low register and at soft dynamics.

Choosing a Facing for Your Skill Level and Repertoire

Facing choice should match your current embouchure strength, air support, and typical repertoire. For most beginners and early intermediate players, a medium facing with a moderate tip opening paired with medium strength reeds is usually the most forgiving and predictable combination.

Intermediate and advancing students who play in concert band or youth orchestra often benefit from a slightly longer medium facing. This can open up the low register and support a warmer tone while still maintaining reasonable response for articulation and technical passages.

Professional orchestral clarinetists sometimes favor medium-long facings that allow for wide dynamic range and color shading, especially in lyrical repertoire by composers like Brahms or Debussy. These facings reward strong air support and a stable embouchure with rich, flexible tone.

Jazz and commercial players may prefer shorter or medium facings with slightly more open tips for quick response, bright projection, and ease of bending pitch. The exact choice depends on whether the player emphasizes lead work, section blending, or solo improvisation with heavy amplification.

Doublers who switch between clarinet and saxophone often choose slightly shorter facings to keep resistance manageable when moving between instruments. A compact, responsive facing can make quick transitions in pit orchestras or studio work more comfortable, especially under time pressure.

When in doubt, test several facings in the same general tip opening range. Keep reeds, ligature, and barrel constant while you compare. Listen for how each facing affects your low-register security, altissimo stability, and ability to play long phrases at soft dynamics without losing focus.

Workshop Measurement & Testing Protocols (gauges, audio tests, step-by-step)

Accurate facing measurement starts with a clean mouthpiece and a flat reference surface. Technicians typically use a glass plate, a calibrated facing gauge, and a set of feeler gauges. The goal is to document facing length, tip opening, and curve profile in a repeatable way.

Step 1: Inspect the table and rails under bright light. Check for warps, chips, or uneven wear. Step 2: Place the mouthpiece on the glass plate and verify that the table sits flat with no rocking. Any rocking suggests warpage that must be addressed before precise facing measurements are meaningful.

Step 3: Mount a standard reed, aligned with the tip and rails. Lightly secure it with a ligature. Step 4: Using feeler gauges, slide a thin shim (for example, 0.0015 in or 0.04 mm) under the reed from the table side toward the tip. Note the distance from the tip when the feeler first moves freely under the reed on both rails.

Record the average of left and right measurements as the facing length. Step 5: To map the curve, measure reed opening at fixed distances from the tip, such as 2, 4, 6, 8, and 10 mm, using a dial indicator or specialized gauge. Plotting these values creates a profile that can be compared with reference facings.

Audio testing is equally important. Record A/B comparisons using the same player, reed, and room. Suggested tests include long tones on written low E, throat A, clarion G, and altissimo C, plus two-octave scales at various dynamics. Label each clip with facing data for later analysis.

Technicians and teachers can build a small library of recordings that demonstrate how different facings behave. Over time, this archive becomes a powerful tool for correlating measured curves with real-world playing results, helping guide future adjustments and player recommendations.

Facing Modification Techniques and Safety Notes (when to send to a tech)

Modifying a clarinet mouthpiece facing involves removing or polishing hard rubber or plastic along the rails and sometimes adjusting the tip. This is permanent work that should be approached cautiously. Once material is removed, it cannot be replaced without major reconstruction.

Professional refacers use fine abrasive tools, feeler gauges, and magnification to make tiny, controlled changes. They may slightly lengthen a facing, smooth a flat spot, or adjust the curve radius to improve response. Each stroke is followed by measurement and play testing to confirm the effect.

Common workshop adjustments include extending a facing by 0.5 to 1.0 mm to free up the low register, or slightly reducing an overly aggressive middle section that causes the reed to shut down at loud dynamics. These changes are usually measured in hundredths of a millimeter and require steady hands.

Players should avoid DIY grinding, filing, or sanding on the facing, tip, or rails. Even a few careless strokes can ruin the symmetry of the curve, introduce leaks, or create sharp edges that damage reeds. Cleaning and polishing should never remove measurable material from the facing area.

Send the mouthpiece to a qualified technician if you notice chronic response problems that persist across multiple reeds and ligatures, especially if visual inspection suggests uneven rails, chips, or warpage. Also seek professional help if you want to convert a short facing to a medium or long design.

Safe at-home actions include detailed documentation and testing, not cutting. Keep notes on which facings and reeds work best, record audio comparisons, and share this information with your technician. Clear communication helps the refacer target adjustments that match your playing needs.

Maintenance, Reed Pairing, and Daily Setup Tips

Daily maintenance supports the facing curve by keeping the table, rails, and tip clean and undamaged. After each playing session, gently wipe the mouthpiece interior and exterior with a soft, lint-free cloth. Avoid harsh chemicals that might soften or pit hard rubber or plastic surfaces.

Before playing, inspect the tip and rails for chips or nicks. Even a tiny chip at the tip can disrupt the seal with the reed and change how the facing behaves. If you see damage, switch to a backup mouthpiece and schedule a professional evaluation rather than trying to sand or file it yourself.

Reed pairing is critical. Shorter facings often work best with slightly softer reeds or reeds with more flexible tips, while longer facings may require a bit more reed strength to maintain stability. Keep a small, labeled reed rotation so you can track which reeds pair best with each facing.

Align the reed carefully: tip corners should match the mouthpiece tip, and side edges should be centered on the rails. A reed that is off-center or too high/low on the table can mimic facing problems, causing leaks, squeaks, or uneven response across registers.

Ligature placement also matters. Position the ligature so it clamps the reed over the flat part of the table, not over the curved section. Too far forward can restrict vibration; too far back can allow the reed to warp or leak along the facing. Small adjustments can noticeably change response.

At least once or twice a year, or more often for heavy use, have a qualified technician check your mouthpiece for table flatness, rail symmetry, and facing integrity. Regular preventive checks help catch minor issues early, before they become major facing problems that require extensive rework.

Troubleshooting Common Facing-Related Problems

Many playing problems that seem like embouchure or reed issues actually trace back to the facing curve. A structured troubleshooting approach can help you decide whether to adjust your setup, change reeds, or consult a technician for refacing or repair.

If the low register is unstable, airy, or cracks at soft dynamics, suspect a facing that is too short, too flat in the middle, or mismatched with a very hard reed. Test with a slightly softer reed and a different ligature. If the problem persists across reeds, have the facing measured.

If the high register feels tight, sharp, or resistant, especially on altissimo notes, the facing may be too short for your embouchure and air support, or the tip opening may be too closed. Try a slightly softer reed or a mouthpiece with a longer medium facing and compare response.

Sluggish response and delayed articulation can indicate a facing that is too long or too open for your current reed strength. Test with a slightly stronger reed and listen for improved clarity. If articulation remains fuzzy, the curve may have flat spots that need professional smoothing.

Uneven tone between left and right hand notes, or sudden changes in resistance between neighboring notes, can point to asymmetrical rails or an uneven curve. Visual inspection against a backlit plate can reveal one rail higher than the other or localized leaks along the facing.

When troubleshooting, change only one variable at a time: reed strength, reed brand, ligature, or mouthpiece. If problems persist across multiple reeds and setups, stop experimenting and consult a technician. Continued playing on a flawed facing can reinforce bad habits as you unconsciously compensate.

Historical Notes and Brand Legacy (Martin Freres archival facings)

Historically, clarinet mouthpiece facings evolved alongside changes in bore design, reed cutting, and performance practice. Early 20th century European mouthpieces often had shorter, more closed facings that matched harder cane reeds and smaller tip openings favored in orchestral playing of that era.

As jazz, wind band, and solo repertoire expanded, makers experimented with longer facings and more open tips to support greater projection and flexibility. This shift paralleled changes in reed manufacturing by companies like Vandoren and Rico, which began offering more varied cuts and strengths.

Martin Freres mouthpieces from different decades illustrate this evolution. Early catalog examples often featured relatively compact facings suited to the tonal ideals of French and Belgian schools, while later models reflected broader, more flexible designs influenced by international performance trends.

Martin Freres archival materials show that early catalogs rarely listed precise facing lengths or tip openings, relying instead on descriptive terms like “medium” or “orchestral”. Digitizing and measuring surviving mouthpieces can help create a modern facing chart that links historical models to current numeric standards.

Because numeric specifications were not standardized, two brands might both label a facing as “medium” while differing by more than 1 mm in length or 0.1 mm in tip opening. This lack of standardization continues today, which is why direct measurement and careful play testing remain important.

For historians and collectors, documenting facings on vintage mouthpieces, including Martin Freres examples, provides insight into how players of different eras approached tone and response. These measurements can also guide modern reproductions that aim to recreate specific historical playing characteristics.

Player Outcomes: Exercises to Evaluate Facing Choices

Practical testing is the best way to decide whether a facing curve suits your needs. Structured exercises let you hear and feel differences between mouthpieces more clearly than casual playing. Use the same reed and ligature for each test to isolate the effect of the facing.

Start with long tones: play written low E, throat A, clarion G, and altissimo C for 8 to 12 counts each at pp, mf, and ff. Listen for stability, ease of attack, and tone consistency. A suitable facing should allow all dynamics without sudden color changes or cracking.

Next, test legato response with two-octave slurred scales in G major and E flat major. Pay attention to how smoothly the sound connects between chalumeau and clarion. If one facing makes the break noticeably smoother and more predictable, note that result in your comparison chart.

Articulation tests help evaluate clarity and resistance. Play repeated staccato eighth notes on written G in the staff at various tempos, then try tongued scales at quarter note equals 80, 100, and 120. A good facing should allow clean, consistent attacks without feeling either too stiff or too loose.

Dynamic flexibility can be checked with crescendo-diminuendo exercises on sustained notes. Start at pp, swell to ff, then return to pp over 8 measures. Listen for whether the facing lets you keep pitch stable and tone centered across the entire dynamic arc, especially in the low register.

Finally, record yourself performing a short excerpt from your regular repertoire on each mouthpiece. Use the same reed and conditions. Listening back without the instrument in your hands often reveals differences in tone color, projection, and phrasing ease that are harder to notice while you are playing.

Key Takeaways

• The clarinet mouthpiece facing curve, defined by its length and profile, directly shapes response, tone, and projection across all registers.
• Short, medium, and long facings each offer distinct advantages; the best choice depends on your embouchure, air support, and repertoire.
• Accurate measurement, careful maintenance, and structured playing tests are important for evaluating facings and deciding when professional refacing is needed.

FAQ – Clarinet Mouthpiece Facing Curve

What is clarinet mouthpiece facing curve?

The clarinet mouthpiece facing curve is the shaped arc from the tip to the point where the reed first lies flat on the table. It defines how the reed lifts away from the mouthpiece and controls vibration. This curve strongly affects response, tone color, resistance, and how easily notes speak in each register.

How do short, medium, and long facings differ in sound and response?

Short facings usually give quick response, crisp articulation, and a brighter, more focused sound, but can feel resistant, especially in the low register. Long facings often feel more free-blowing, with greater flexibility and warmth, especially at soft dynamics. Medium facings balance these traits and work well for most players and styles.

How do I measure a mouthpiece facing length and profile?

To measure facing length, mount a reed, then slide a thin feeler gauge under the reed from the table side toward the tip until it first moves freely. Measure the distance from this point to the tip in millimeters. To map the profile, measure reed opening at fixed distances from the tip and plot those values as a curve.

Can a facing be safely modified or lengthened/shortened at home?

Facing modification should not be done at home. It requires specialized tools, precise measurement, and experience. Removing even a small amount of material from the rails or tip can permanently damage the mouthpiece. Players should limit home work to cleaning, inspection, and documentation, and leave refacing to qualified technicians.

Which facing is best for beginners vs. advanced players?

Beginners usually do best with a medium facing and moderate tip opening, paired with medium strength reeds, for predictable response and tone. Advanced players may choose slightly longer or shorter facings depending on their repertoire and preferences. Orchestral players often favor medium-long facings, while some jazz and doubling work suits shorter facings.

How do I know if my facing is causing tuning or response problems?

If problems persist across multiple good reeds and ligatures, and your instrument is otherwise in good repair, the facing may be at fault. Signs include unstable low notes, tight or sharp high notes, sudden changes in resistance between neighboring notes, or chronic sluggish articulation. In these cases, have a technician measure and evaluate the facing.