Gear & setup · 3 min read
Clarinet Mouthpieces Explained: Tip Opening, Facing and Baffle
What tip opening, facing length, baffle and chamber mean, how they change your sound, and how to choose a clarinet mouthpiece and ligature.
Updated · Tonehole editors
After the reed, the mouthpiece is the single biggest influence on your clarinet sound. Upgrading from a basic student mouthpiece is often the most cost-effective improvement a developing player can make. Here is what the specifications actually mean.
Anatomy of a mouthpiece#
- Tip rail — the thin edge at the very end that the reed tip closes against.
- Side rails — the edges along which the reed seals.
- Table — the flat area under the reed's heel, where the ligature holds it.
- Facing (lay) — the gentle curve where the rails fall away from the reed.
- Window — the opening under the reed.
- Baffle — the roof of the mouthpiece behind the tip.
- Chamber and bore — the internal space leading to the barrel.
Tip opening#
The tip opening is the gap between the reed tip and the mouthpiece tip, usually given in millimetres (or hundredths of a millimetre). Most classical B♭ clarinet mouthpieces fall roughly between 1.00 mm and 1.30 mm.
| Tip opening | Character | Reeds |
|---|---|---|
| Close (≈ 1.00–1.10 mm) | Controlled, focused, easier in the altissimo | Harder reeds (3½–4+) |
| Medium (≈ 1.10–1.20 mm) | Balanced; the most common choice | Medium reeds (3–3½) |
| Open (≈ 1.20 mm and above) | Big, flexible sound; demands more control | Softer reeds (2½–3) |
Facing length#
The facing length is how far down the rails the curve begins. A longer facing lets more of the reed vibrate — a warmer, more flexible sound with more resistance; a shorter facing gives a quicker, more compact response. Facing length is usually described as short, medium or long.
Baffle and chamber#
A higher baffle speeds up the air and brightens the tone; a lower, scooped baffle darkens it. Large chambers tend to sound darker and broader, small ones brighter. Jazz and klezmer players often prefer brighter, more open mouthpieces; orchestral players usually prefer darker, medium-close designs.
Ligatures#
The ligature holds the reed on the table. Metal two-screw, single-screw, fabric and string ligatures all work; differences are subtle and often personal. What matters most is that the reed is centred, the ligature is just tight enough to hold it, and it touches the reed evenly. Fabric ligatures tend to free-blow; metal ones often feel more focused.
How to try mouthpieces#
- Use reeds you know well, in two strengths (your usual and half a strength softer).
- Play the same short passage on each: low register, throat tones, crossing the break, some altissimo.
- Check tuning with a tuner — a mouthpiece also changes overall pitch.
- Record yourself; ask someone to listen from across the room.
- Choose the one that lets you play soft entrances and clean articulation with the least effort.
Does an expensive mouthpiece make a big difference?#
Moving from a basic stock mouthpiece to a good hand-finished one usually makes a clear difference in tone and response. Beyond that, differences between quality mouthpieces are about matching your sound concept and reeds, not price.
What tip opening should I choose?#
If you are unsure, start with a medium tip opening (roughly 1.10–1.20 mm) and medium facing length, and pair it with medium-strength reeds. Move closer if you struggle with control in the altissimo, or more open if your sound feels restricted.
Related: choosing reeds · embouchure.