Do Ligatures Really Make a Difference?
by Mitchell Estrin
Date Posted: September 14, 2016
One of the questions I am frequently asked by my students and at masterclasses is whether ligatures really do make a difference. The simple answer is yes, they do. So the question then becomes why.
Historical Context
A small historical detour is necessary here. From the invention of the clarinet in the early eighteenth century up until the late nineteenth and early twentieth centuries, players tied their reed to the mouthpiece with string. Some players would coat the string with bees wax for a better hold. Mouthpieces would sometimes have grooves cut into them to give the string a place to sit. Having the reed held in place with a wrapped string made it difficult and time-consuming to change reeds and a little risky when changing clarinets (B-flat to A) in the orchestra. With the industrial revolution came the development of the familiar metal two screw ligature, which offered greater security and ease of changes.
Why a Good Ligature Makes a Difference
Let us consider first the prime directive of a ligature, which is to properly hold the reed in place on the mouthpiece. As mouthpieces often are different circumferences, how a ligature fits on and around your mouthpiece is priority number one. Assuming it fits well, the next point is that the screws should always be to the right as you are looking down at your instrument when in playing position.
Inverted or Traditional?
This brings up the traditional -screws on the bottom - versus the inverted - screws on the top - ligature concepts.
Prior to the mid-twentieth century, almost all ligatures were traditional style. The great clarinetist and pedagogue, Daniel Bonade, was the pioneer of the inverted ligature. He may not have invented it, but he certainly refined and popularized the concept. By having the screws on the top, Bonade was able to use the bottom (solid side) of the ligature solely for the purpose of maximizing and/or controlling the vibrations of the reed on the mouthpiece. Many other designers and manufacturers soon followed suit.
"You will be amazed at the variety of tonal characteristics you will hear (as listener) and the variations in response you will feel (as player)." - Mitchell Estrin
How the Reed is Held in Place
Another variance from one ligature to another is the manner in which the reed is held in place.
- Traditional ligatures generally have their entire length coming into contact with the reed. This places equal pressure on all parts of the reed with which it comes into contact.
- Other ligatures, both traditional and inverted, will feature select pressure points - sometimes vertical, sometimes horizontal, and often 4-6 small points strategically shaped and placed by the designer. All of these variations will change the overall musical effect.
Factoring in Materials
The main musical differences between ligatures are how they respond to blowing pressure and what kind of tone color they produce.
Another huge factor in how a ligature affects the response and tone color is the material from which the ligature is made. Each material or plating, be it metal, precious metal, plastic, string, cloth, etc. will vibrate differently, thus giving a unique response and tone color. Also, although the same brand and model of ligature will share certain characteristics, no two will play or sound exactly alike.
In case you are a doubter, try a blindfold test, both as a player and a listener. You will be amazed at the variety of tonal characteristics you will hear (as listener) and the variations in response you will feel (as player). The most glaring differences will be noted in timbre, articulation, and when executing extreme dynamic levels, particularly pianissimo.
Advice for Finding the Perfect Ligature
Although choosing a great ligature may seem a little daunting at first, the good news is that in today's marketplace, there is truly something for everyone.
*My best advice is to play test 6-10 ligatures as both listener and player, make a choice and never look back. My current choice is the Vandoren M|O in Pewter.
Best of luck finding your ideal ligature and remember they really do make a difference!
About the Author
Mitchell Estrin is Professor of Music Emeritus at the University of Florida where he was founder and music director of the University of Florida Clarinet Ensemble and a University of Florida Research Foundation Professor. He served as the Artistic Director of the Vandoren Clarinet Ensemble Festival and was founder of the Buffet Crampon USA Summer Clarinet Academy. Prof. Estrin was the 20th President of the International Clarinet Association (ICA). He is the author of the biography Stanley Drucker, Clarinet Master published by Carl Fischer and Writing the Vandoren WAVE published by CAMco. His critical edition of the Weber Concertino for Clarinet, Op. 26 is published by Jeanné.
Prof. Estrin is a 2023 recipient of Honorary Membership in the International Clarinet Association. This accolade, marking the highest honor in the clarinet world, is said to acknowledge individuals with a distinguished background in the areas of professional service, teaching, performance, and lifetime achievements.
Mitchell Estrin studied clarinet with Stanley Drucker at The Juilliard School where he received his bachelor’s and master’s degrees. His other influential teachers include Jerome Stowell, Walter Wollwage, Leon Russianoff, Larry Combs, Robert Bloom, and John Moses.
Prior to his academic appointments, he had a 25-year association with the New York Philharmonic. He performed in hundreds of concerts and on 19 international tours with the Philharmonic as principal, second, and E-flat clarinetist under music directors Alan Gilbert, Lorin Maazel, Kurt Masur, Zubin Mehta, Pierre Boulez, Leonard Bernstein, and many distinguished guest conductors including Erich Leinsdorf, Sir Georg Solti, Claudio Abbado, Klaus Tennstedt, Andre Previn, Sir Colin Davis, and Leonard Slatkin. He performed on dozens of recordings with the Philharmonic and on numerous occasions performed with the orchestra on the PBS award winning series, Live From Lincoln Center.
As an international concert artist, Mitchell Estrin has performed in over 40 countries on 5 continents. He performed and recorded the world premiere of The Shadows of October for clarinet and orchestra by Michael Whalen with the Janacek Philharmonic.
“This beautiful and lushly scored tonal piece…. is performed by clarinetist Mitchell Estrin…. He plays beautifully with a lovely colored tone.”
The Clarinet
As a chamber musician, he has performed with such notable ensembles as The Chamber Music Society of Lincoln Center, New Arts Trio, American Chamber Winds, at the Newport Music Festival, and was a founding member of the Amadeus Ensemble.
Prof. Estrin has an extensive discography of solo and chamber music and recorded hundreds of television commercials and Hollywood motion-picture soundtracks. He has performed and recorded with many leading popular artists including Emerson, Lake and Palmer, Peter, Paul and Mary, Ray Charles, The Fugees, Wynton Marsalis, Benny Golson, Smashing Pumpkins, and Natalie Merchant. His motion picture soundtrack credits include recordings for Columbia, Walt Disney, Paramount, MGM, 20th Century Fox, United Artists, and Warner Brothers on feature films including Aladdin, Beauty and the Beast, The Alamo, Intolerable Cruelty, The Score, You’ve Got Mail, Primary Colors, Fargo, Batman Forever, Interview with the Vampire, Home Alone 2, Pocahontas, Doc Hollywood, Regarding Henry, The Untouchables, Reds, and Dressed to Kill. His television credits include recordings for ABC, NBC, CBS, CNN, HBO, TBS, and ESPN. Prof. Estrin was principal clarinetist for the NBC 75th Anniversary Special; broadcast from the famed NBC Studio 8H in New York City. He has appeared on The Late Show with David Letterman, The Phil Donahue Show, the television series Nurse, and in Kramer vs. Kramer, the 1980 Academy Award Winner for Best Picture. His clarinet playing has also been heard on hundreds of television and radio commercials. The National Academy of Recording Arts and Sciences recognized him as a Most Valuable Player nominee for his outstanding performances in the recording studio.
Prof. Estrin has presented recitals, masterclasses, workshops, and seminars at many prestigious educational conferences and institutions. This list includes the Eastman School of Music, Peabody Conservatory, Arizona State University, Florida State University, University of Maryland, University of Alabama, University of Arizona, University of Illinois, University of Texas, Texas State University, Texas A&M University, Midwest Clinic, New York State School Music Association, Connecticut School Music Association, and Florida Music Educators Association. In 2019, he was a guest clinician in Australia at the University of Melbourne. He has performed in recital with clarinetists Stanley Drucker, Karl Leister, and Mark Nuccio.
Widely acclaimed as a conductor and proponent of the clarinet choir, Prof. Estrin has served as director of the International Clarinet Association ClarinetFest® College, Festival, and Professors Clarinet Choirs, Texas State Clarinet Fiesta Clarinet Choir, Oklahoma Clarinet Symposium Clarinet Choir, Texas Clarinet Colloquium Clarinet Choir, and United States Navy Clarinet Choir. He held a Guinness World Record for conducting the world’s largest clarinet choir (367 members) in 2019. He has conducted the University of Florida Clarinet Ensemble throughout the United States and Europe, including three feature recitals at the International Clarinet Association ClarinetFest®. The ensemble has produced four critically acclaimed CD’s for Mark Masters, Christmas Clarinets (2016), Clarinet Choir Classics (2012), Clarinet Thunder (2009), and Wind in the Reeds (2006). Each of these recordings was selected for the Grammy Nomination eligibility list. Prof. Estrin has authored multiple articles on the history, development, repertoire, and logistics of the clarinet choir.
As a music producer and annotator, he has worked on projects with such renowned artists as trombonist Joseph Alessi, jazz pianist Lynne Arriale, and saxophonist Mike Smith. He has produced five clarinet choir CDs for Mark Recording.
Prof. Estrin’s students have performed with such prestigious ensembles as the Chicago Symphony, Cleveland Orchestra, Cincinnati Symphony, Baltimore Symphony, Pittsburgh Symphony, Detroit Symphony, Louisville Orchestra, New York Pops, United States Army Band “Pershing’s Own”, United States Army Field Band, and West Point Band. His students hold educational positions at several major universities including Indiana University, University of Arizona, University of Florida, and University of South Alabama.
Mitchell Estrin is a Buffet Crampon Legacy Artist and performs exclusively on the Buffet R13 clarinet. As a Vandoren Performing Artist, he endorses and performs exclusively on Vandoren reeds (V.12) and mouthpieces (BD2). Prof. Estrin’s educational articles are published regularly in the Vandoren WAVE and his biography is listed in Who’s Who in Classical Music, Who’s Who in American Music, and Who’s Who in International Music.